Happy Feet

Not rated yet!
Director
George Miller
Runtime
1 h 48 min
Release Date
16 November 2006
Genres
Animation, Comedy
Overview
Into the world of the Emperor Penguins, who find their soul mates through song, a penguin is born who cannot sing. But he can tap dance something fierce!
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PJ Media Staff3
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  • Here Are Robin Williams' 10 Most Underrated Performances
    Lifestyle var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'Out of Focus ("Deconstructing Harry" - Woody Allen)', 'videoType': 'Curated' }); 10. Deconstructing Harry (1997)Williams’ only Woody Allen film is essentially a series of sketches in which Allen works out his demons. Williams is in the film for only a few minutes but he makes them count in a brilliant bit part as Mel, a film actor whose life is such a blur that he has literally gone out of focus.  class="pages"> https://pjmedia.com/lifestyle/2014/8/13/here-are-robin-williams-10-most-underrated-performances/ previous Page 1 of 10 next   ]]>
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  • 6 Kids Films Filled With Green Propaganda
    Lifestyle Editor’s Note: This article was first published in September of 2013 as "6 Animated Kids Movies with Annoyingly Intrusive Political Messages." It is being reprinted as part of a new weekend series at PJ Lifestyle collecting and organizing the top 50 best lists. Where will this great piece end up on the list? Reader feedback will be factored in when the PJ Lifestyle Top 50 List Collection is completed in a few months… Click here to see the top 25 so far and to advocate for your favorites in the comments.The animated children’s movie Cloudy with a Chance of Meatballs 2 lands in theaters this week [it's now available on Blu Ray] with a strange anti-food processing message: The bad guy wants to take adorable anthropomorphic animal-foods and feed them into his giant food processor to make energy bars.Surprisingly, this movie is actually less obnoxiously political than lots of other offerings being sold to your kids. Here are five especially egregious examples of kids’ movies with intrusive political messages.1. Cloudy with a Chance of Meatballs (2009).The original film took a fun kids’ book and loaded it up with political freight: it’s set in a struggling island town that hits a windfall when a young inventor named Flint Lockwood invents a machine that can turn water into food.Before you know it, it’s raining meat and produce. Sounds like a resource-management problem: If it rained gold, would we figure out a way to profit from it or scream that doomsday has arrived?The movie turns into a lecture on materialism, inviting us to see the connection between consumer habits and extreme weather/global warming. See, if we don’t get out of our big comfy SUVs and stop craving so much food, the weather-gods will plague us forever. Hollywood’s neo-Puritanism is alive and well.  class="pages"> https://pjmedia.com/lifestyle/2014/3/22/6-kids-films-filled-with-green-propaganda/ previous Page 1 of 5 next   ]]>
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  • 6 Animated Kids Movies with Annoyingly Intrusive Political Messages
    Lifestyle  The animated children’s movie Cloudy with a Chance of Meatballs 2 has a strange anti-food processing message: The bad guy wants to take adorable anthropomorphic animal-foods and feed them into his giant food processor to make energy bars.Surprisingly, this movie is actually less obnoxiously political than lots of other offerings being sold to your kids. Here are five especially egregious examples of kids’ movies with intrusive political messages.1. Cloudy with a Chance of Meatballs (2009).The original film took a fun kids’ book and loaded it up with political freight: it’s set in a struggling island town that hits a windfall when a young inventor named Flint Lockwood invents a machine that can turn water into food.Before you know it, it’s raining meat and produce. Sounds like a resource-management problem: If it rained gold, would we figure out a way to profit from it or scream that doomsday has arrived?The movie turns into a lecture on materialism, inviting us to see the connection between consumer habits and extreme weather/global warming. See, if we don’t get out of our big comfy SUVs and stop craving so much food, the weather-gods will plague us forever. Hollywood’s neo-Puritanism is alive and well.  class="pages"> https://pjmedia.com/lifestyle/2013/9/27/6-animated-kids-movies-with-annoyingly-intrusive-political-messages/ previous Page 1 of 5 next   ]]>
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Plugged In1
Focus on the Family



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  • What’s New and Streaming for Families This January

    The holidays have wrapped (or been unwrapped, if you will) and 2018 has tipped its hat and said fare-thee-well. So what does the new year and a chilly January have ups its sleeves for family loving movie watchers looking for some streaming joy? Let’s take a look. Netflix As we’ve seen a number of times […]

    The post What’s New and Streaming for Families This January appeared first on Plugged In Blog.

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The Federalist Staff1
The Federalist



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  • How 3 Recent Animated Movies Subtly Destroy Kids' Understanding Of Family And Reality
    There is potential danger with anything coming from mainstream American entertainment, but especially with what is geared towards our children. It is not usually the things that are blatantly offensive that we need to be as concerned with; these are often obvious and easy to work around. Rather, we really need to be aware of the constant indoctrination about what is the norm. We parents are responsible for the development and training of our children, but often the movies that are made for them present subtle and sometimes not so subtle attempts to transform their hearts and minds towards the Hollywood progressive agenda. This includes pushing LGBT-family propaganda that desires to normalize a destructive and anti-biblical perspective of marriage, family, and self-image onto young children. This is certainly not new, but many companies have been emboldened by the current culture and political power of the entertainment industry, unfortunately not just in Hollywood but in multiple athletic organizations like the NCAA, NBA, and NFL, as well. Here are a few major productions that demonstrate some of the subtle, yet effective, approaches now influencing our children’s hearts and minds. You Can Be Anything You Want? How About a Panda First, LGBT representatives have hailed the recent Oscar-winning film “Zootopia” for its progressive and inclusive message. Some quotes from an LGBT website about the film: “In one bit of LGBT subtext, we learn that, when Nick was a pup, he desperately wanted to belong to a troop of scouts but is shunned and humiliated because he is a fox, and the scouts aren’t tolerant of them.” The author proclaims disdain with the Boy Scouts’ long holdout over not allowing homosexuals into their organization. This author also recognizes the impact of the film on children. “Zootopia does carry a heavy message about racism, homophobia and hate, but … the directive is cast upon younger viewers in subtle Disney fashion while older ones can appreciate the sophisticated framework. Everyone should take their kids, or xenophobic acquaintances to see this film, $12 is not a lot to pay for a Disney parable on ‘human’ rights.” Zootopia is extremely well-written and quite entertaining. The outward message is often good and has several positive aspects. However, it wraps certain lies around varied truths so they become almost indistinguishable. The underlying theme of the film is that being who you were created to be is either insufficient or just plain wrong. As I watched, read about, and discussed “Zootopia” with my children, several things struck me. At the very beginning, in a conversation between the main character, Judy, and her parents, the father says, “Judy, you ever wonder how your mom and me got to be so darn happy? … Well, we gave up on our dreams, and we settled.” The whole dialog in this second scene sets up the idea that, if you plan to stay as you were made, then you can have no dreams. This immediately informs the children watching that not only do their parents not know what is good for them but neither does their creator. A few scenes later, Nick, a sly hustling fox who ends up being Judy’s sidekick, is in an elephant ice cream shop. There is a seemingly young fox dressing as an elephant, and his “father” is proclaiming his son wants to be an elephant when he grows up. Judy offers some very telling advice to the little fox, “And you, little guy, you want to be an elephant when you grow up? You be an elephant. Because this is Zootopia. Anyone can be anything.” This clearly implies that he is not, nor does he have to be, what he was created to be. There are several suggestions here, but it mostly states (not just for pretend) that a fox can be an elephant, which is the very heart of the transgender issue. As the movie progresses, it is not insignificant that the predators in the movie can no longer be predators. There are several implications here as well, not the least of which is the inference to Isaiah 11:6: “The wolf shall dwell with the lamb, and the leopard shall lie down with the young goat, and the calf and the lion and the fattened calf together; and a little child shall lead them.” The film is suggesting that we can create a heavenly experience here on earth without needing or following God (or his created order), but instead the “heavenly reality” will come through political and social justice. At the end of the movie, I also found it interesting that the villain is revealed to be a “lamb” whose primary evil deed is proclaiming that predators are predators by forcing them to be predators. The inference could easily suggest that Christ (the Lamb of God) has an absolute truth which the world views as completely foolish and ultimately evil. This is all done in a masterful way to encourage children to reject the created order and instead create an order for themselves–without ever stating it explicitly. What You Are Made To Be Depends on How You Feel The film “Happy Feet” had a similar underlying theme suggesting that you do not have to do what you were created to do. Several years ago, I picked the up the “Happy Feet” DVD for our younger children and was shocked at what it conveyed. It is a cute and captivating story of an adorable misfit penguin, Mumble, who was not good at singing but loved to dance. The dilemma of Mumble not singing is not a trivial one, as if it were a cultural or personal preference that he should be able to choose, like a job, education, hobby, diet, or appearance. The “song” of the Emperor Penguin was an integral part of their created order in procreation, and this lead directly to a constant anti-religious connotation throughout the film. The attack on Mumble comes from none other than the elder penguins in charge who are villainized for wanting to protect the created order. The head “pastor” penguin (interestingly named Noah) stands in judgment over the young penguin and rants, “You bring this disorder, this aberration … Have you lost your minds? It is this kind of backsliding that has brought the scarcity upon us.” Other penguins mock the pastor saying, “We are just having fun, harmless fun” and “Can you speak plain penguin, please?” However, Noah continues “preaching” about their god, “You invite him to withhold his bounty. He rules the seasons. He giveth and he can taketh away” (directly referencing Job 1:21). But it wasn’t sufficient for the movie to make just the church look foolish. The film takes a direct jab at fathers, also. Mumble’s dad joins the chorus of elders and reluctantly tells Mumble, “You must renounce your so-called friends, your peculiar thoughts, your strange ways. If we are devout, sincere in our praise, the fish will return.” The pastor chimes back in, “Your father speaks wisely. Heed his suffering heart and repent.” Mumble responds to his dad “Don’t ask me to change, Pa, because I can’t.” Then at the end of the movie, the dad relents, “There ain’t been one day, not one day, that I done right by you. You’ll have to forgive me.” The father is only reunited with his son after he acknowledges how wrong he has always been. The progressive agenda is telling us that a child who says he cannot change should not be asked to change. (Remember, we are not talking about the normal options that all children have as they grow up, but the very order into which they are created.) Instead the child’s new order is simply to be accepted regardless. The LGBT inferences abound: I was born gay. I am a girl inside a boy’s body. The created order must be changed to accept what I say I can or cannot be. The film never presents the love and compassion of a true Christian pastor, only the disdain for the created order he represents. Implicit Anti-Family Messages in ‘Beauty and the Beast’ Finally, the new live-action “Beauty and the Beast” shows how the entertainment industry intentionally wants to promote these subtle changes into the norm. A well-balanced review from Ted Baehr says, “This BEAUTY AND THE BEAST has most of the charms and positive messages of the 1991 movie, but they are marred by some annoying, gratuitous politically correct homosexual references that are on the nose, out of place and in your face.” The whole objective is to make this seemingly insignificant gay behavior part of everyday normal activity which every child just needs to learn to accept. According to MovieGuide, “The basic story of a daughter who sacrifices herself for her father yet discovers true love by looking past appearances to see the inner beauty and worth remains mostly intact.” However, at the very end of the movie there is a short scene suggesting the normalcy of homosexual behavior. There at the grand ball is LeFou dancing with another gentleman who earlier in the film had been dressed in woman’s clothes. LeFou’s suggestive attraction to men is set up and alluded to on multiple occasions during the movie. Baehr describes, “When Gaston tells LeFou he intends to marry Belle, LeFou asks, ‘What about us?’ Also, when Gaston admires himself in the mirror, LeFou also admires the reflection, adding that he’s determined to ‘get’ Gaston like Gaston is determined to get Belle.” Disney has written only a handful of new elements into the movie to make it more progressive. There is no actual homosexual activity or conversation (this would still be too offensive to most parents). However, there is a specific objective to normalize homosexual activity so that, one day very soon, the God-ordained family structure will be so undermined they will be able to promote openly this LGBT agenda to our children. Both the film studios and the LGBT community fully understand what they believe needs to be achieved. In what has become a controversial interview with Attitude, a gay online magazine, “Beauty and the Beast” director Bill Condon spoke about the film and the scene with LeFou. “LeFou is somebody who, on one day wants to be Gaston and on another day wants to kiss Gaston. He’s confused about what he wants. It’s somebody who’s just realizing that he has these feelings. And Josh (Gad) makes something really subtle and delicious out of it. And that’s what has its payoff at the end, which I don’t want to give away. But it is a nice, exclusively gay moment in a Disney movie.” The magazine’s editor-in-chief, Matt Cain, commented, “It may have been a long time coming, but this is a watershed moment for Disney.” He continued, “By representing same-sex attraction in this short but explicitly gay scene, the studio is sending out a message that this is normal and natural – and this is a message that will be heard in every country of the world, even countries where it’s still socially unacceptable or even illegal to be gay.” He added, “It’s only a first step towards creating a cinematic world that reflects the one in which many of us are now proud to live. But it’s a step in the right direction, and I applaud Disney for being brave enough to make it – and in doing so hopefully helping to change attitudes and bring about real social progress.” After its blockbuster opening weekend, many of the mainstream reviews concluded what’s the big deal? There isn’t any overt homosexual content. However, that is exactly the point; the whole objective is to make this seemingly insignificant gay behavior part of everyday normal activity which every child just needs to learn to accept. Hollywood is seeking to make normal what is abnormal through raising our children on stories that makes these abnormalities appear as normal. What Parents Should Do We help determine much of what is produced for our children in Hollywood through the tickets we purchase at the box office. Unlike television, which is predominately dictated by major corporations, we control the primary flow of money with movies, while the corporations control the primary flow of money with television. This simply means that the entertainment industry tends to be more careful in presenting certain agendas in children’s movies than in television. Whatever activities you choose to let your children enjoy, be aware of what the world is trying to make normal. The concern here is definitely bigger than just movies. It is also those television shows we watch, the music we listen to, and the books we read. We all need to understand and grapple with the worldview being offered to, even persuading, our children every day. The following are some key elements that we parents may be able to use when helping our children focus on what they watch, listen to, and read: What is the worldview of the movie, show, song, or book? What is the director, author, or artist saying about his work? What and how are they trying to make you feel and think? Most importantly, how does this all relate to Holy Scripture, and does it call us to faithfulness, or show us the consequence of unfaithfulness? This is not an easy struggle, but it is a worthy and essential one. Whatever activities you choose to let your children enjoy, be aware of what the world is trying to make normal, and make sure your children are aware of the message they are being given. The greatest lie is always mixed with a lot of truth, then seen as part of the truth. This is exactly what the serpent did to Adam and Eve in the Garden of Eden and exactly what the world seeks to do with our children. As parents, we should be teaching our children to strive for what is good. Children should always be encouraged to work harder, be kinder, love and serve one another, and be more faithful, while seeking to be the absolute best at who and what they were created to be. If you pay close attention to the films, shows, music, and books that are being made for your children, you will have some great opportunities to instruct and direct them in the truths of the Scripture and the foolishness of this world. The title of this article has been corrected to reflect that “Happy Feet” is not a Disney production It’s a Warner Brothers film. ]]>
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Crosswalk1
Cross Walk



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  • 8 Family-Friendly Netflix Shows Worth Watching in January
    The temperatures are dipping below freezing in much of the country, and snow may be on the ground, too. Thankfully, Netflix has plenty to offer families this month when the homework is finished and the children are looking for something to do. Here are our eight favorite entries this month:
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Counter Currents Staff2
Counter Currents Publishing



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⚠️ EDGY 🔥 CONTENT 🔥 WARNING 🔥 (NSFW?) ⚠️

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  • Deconstructing Disney?
    (”Happy Feet” is briefly mentioned in this.)

    [1]2,075 words

    Popular culture does not matter, and people who read political messages into children’s television programs and movies are guilty of bad faith at best and willful malevolence at worst. Art is independent of politics and has a meaning all its own. All people of good will should be able to agree that at least children’s programming isn’t furthering some kind of nefarious agenda. If parents don’t like it, they can always change the channel. Besides, whatever meaning is somehow encoded in a film, in the end, it’s just a movie.

    Unless we say it’s racist. Or worse, anti-Semitic.

    Fashionable liberals around the interwebs are rejoicing at the latest chapter in the Fox News Follies. Painfully square contributors on America’s News Channel occasionally humiliate themselves with the strange mix of paranoia and political correctness that characterizes the American Right, and liberals are triumphantly taking to their stomping grounds at Media Matters and the Huffington Post to congratulate themselves on their superior intelligence (like not falling for the idea there’s a link between race and IQ).

    The Fox Business Channel hosted a seven minute segment [2] that asked whether the new movie The Muppets is actually a left wing plot to indoctrinate children against capitalism. The plot (such as it is) involves the Muppets trying to combat the evil designs of the creatively named “Tex Richman” to destroy the Muppet Theater and drill for the oil recently found underneath. Eric Bolling of the Media Research Center intones, “It’s amazing how far the Left will go . . .  to manipulate your kids . . . to give them the anti-corporate message.” Andrea Tantaros agreed that it was “brainwashing.” Dan Gainor went so far [3]as to connect this to the Occupy Wall Street movement and a larger history of children’s programming pushing environmentalism. “What is this, Communist China?” he cried.

    Gainor’s charge against Commissar Kermit flops because The Muppets has nothing to do with the environment. Still, movement conservatives can point to a host of children’s films [4] that subtly (and not too subtly) push liberal political messages. There’s the anti-gun message of The Iron Giant, environmental messages in Happy Feet, Ice Age, and Wall-E, criticism of the energy industry in Cars 2, and of course the Bible-thumping bad guy general in Battle for Terra, just for starters.

    In his revealing book Primetime Propaganda: The True Story of How the Left Took Over Your TV [5] Jewish conservative Ben Shapiro exposes [6] television executives bragging about how they pushed political messages on television specifically as a “fuck you to the right wing.” This included children’s programming, as executives from Sesame Street admitted they used the program to push messages [7] about homosexuality, racial diversity, pacifism, and left wing economics. Shapiro notes that left wing media executives felt comfortable openly telling him about their use of the media because they assumed that as a Jew and a Harvard graduate, he must agree with them.

    Nonetheless, both liberals and mainstream news sources have mocked Fox’s alarmism over the likes of Miss Piggy and Gonzo. The Chicago Sun-Times [8], Washington Post [9], and others predictably ridiculed and dismissed the claims. The Huffington Post piled on [10], as did Conan O’Brien [11]. Media Matters wrote several follow up stories [12] and mocked the “stupidity” of the Right for criticizing other children’s programs. Even the Religious Right’s outpost on the Internet, Worldnetdaily, called [13] the idea laughable. The Washington Monthly summed it all up [14] by saying, “when far-right Fox personalities perceive secret political messages from the Muppets, it’s a reminder that conservatives sometimes have too much time on their hands.” Unless you are some bible-beating hick or movement conservative looking to sell books, we can all agree that sophisticated people know there is no secret plot to force views on your kids.

    Except of course when it comes to Disney.

    December 5, 2011 was the 110th anniversary of the birth of Walt Disney, the progenitor of some of the most iconic characters and stories in American culture. Despite, or perhaps because of his importance in developing “Americana,” it is a remarkably consistent meme in contemporary media that Walt Disney was an anti-Semite or a secret Nazi. Marc Eliot’s Walt Disney: Hollywood’s Dark Prince [15]has been the source of numerous urban legends about Disney’s supposed anti-Semitism and secret National Socialist fantasies. Despite the lack of concrete evidence for these charges, Disney’s anti-Semitism has become something that everyone “knows” and is a staple of jokes and allusions in the media — just like J. Edgar Hoover’s supposed homosexuality and cross-dressing. Many of these anti-Disney jokes and parodies are quite funny, but all indicate a deeper and more disturbing rot in the American consciousness.

    Disney, along with just about every other studio, did its part during the Crusade to Save the Soviet Union by supporting the war effort and creating propaganda cartoons [16]. The most famous, Donald Duck in “Der Fuhrer’s Face [17],” is interesting because it identifies the rightness of the American cause with material prosperity.  National Socialist Germany is mocked because people can’t enjoy a breakfast of bacon and eggs every morning, as if Depression era America were awash in prosperity. The cartoon also doesn’t age well, as the stereotypically Italian Mussolini, the overtly racist portrayal of Hirohito, and the implied homosexuality of the Hermann Göring stand-in, seem, shall we say, insensitive by modern standards. Like other propaganda of the time, these cartoons reveal that whatever America thought it was fighting for, it wasn’t racial egalitarianism. Nonetheless, Disney was hardly a bastion of pro-German sentiment.

    That hasn’t stopped it from being common knowledge that Disney was actually a Nazi sympathizer. In a sixth season episode of The Simpsons, “Itchy and Scratchy Land [18],” the family visits a parallel to Walt Disney World. A film about the company’s founder Roger Meyers Sr., takes care to note that he was beloved by the entire world, “except in 1938, when he was criticized for his controversial cartoon, ‘Nazi Supermen Are Our Superiors.’” Family Guy manages to combine the two great myths about Walt Disney, being frozen after his death and hating Jews:

    http://youtu.be/YAcIzPmOhBQ [19]

    Saturday Night Live also accomplished the same trick: http://www.nbc.com/saturday-night-live/video/high-school-musical-4/1085201 [20]

    This is just a reflection of the larger Culture of Critique — it is precisely because Disney represents “Americana” that it is evil. While not a Nazi, Walt Disney was a fervent anti-Communist and gave favorable testimony [21] to the House Un-American Activities Committee against Communists in the movie industry.

    As a contemporary political actor, the Disney Corporation hardly plays a positive role. After its founder’s death, Jewish executive eventually replaced the Disney family, and the corporation promotes the same kind of Cultural Marxist viewpoints and policies that every other studio does. Through its programming for children and “tweens,” Disney dresses up the Zeitgeist of the Kali Yuga for the next generation while churning out a menagerie of child stars turned celebrities like Miley Cyrus, Britney Spears, and Christina Aguilera that will poison the minds of white youth [22] even as they poison themselves.

    However, like America itself, the essence of Disney is Eurocentric, traditional, and implicitly white. Just as leftists know that talk of the “Real America” is a dog whistle appeal to “White America,” Disney its core represents traditional Western storytelling, standards of beauty, and appeals to a time when the United States looked like “Main Street USA [23]” — a clean, orderly, and prosperous white America that was getting better every day.

    Disney purchased the Muppets in 2004, but the kinds of movies and stories that are identified with the company are the portrayals of fairy tales and Disney Princesses that are inseparable from the company’s heritage. Therefore, while right wing conspiracy mongering about “Communist Muppets” is a subject of predictable SWPL mockery, an entire industry and academic discipline has grown up around deconstructing the institutional racism of Disney.

    Entire college classes are dedicated to analyzing (and condemning) the politics of race, class, and sexuality in Disney films. Dr. Virginia Bonner writes [24] grimly that, in her class, students will learn that Disney movies are not “innocent” or simple “entertainment.” Professor Andi Stern in her own class about “Deconstructing Disney” complains [25] about the lack of strong female characters in Disney movies.  Occasionally, an illustration of “Deconstructing Disney Princesses [26]” makes the rounds online. Of course, that hasn’t stopped complaints about how there were no black “princesses.” When they finally did include one, the movie bombed [27], and the Huffington Post dutifully complained [28] it wasn’t good enough and probably racist.

    The usual denunciations of Disney are staples of academic publishing in journals, books, and on the internet. With titles like Deconstructing Disney [29] or From Mouse to Mermaid: The Politics of Film, Gender and Culture [30], these books are filled with numbingly predictable criticisms. Taking their cue, the professorial minorities have made their own contributions with articles like “Deconstructing Disney: Chicano/a Children and Critical Race Theory [31]” appearing in journals such as Aztlan. There are also the documentaries [32] and short films, with professors from all over the country humorlessly pontificating about the evils of the company’s heteronormativity and the like.

    Such bold critiques also contain the de rigueur tributes to themselves, as “academics” who would have starved to death in any other society in human history whine and complain about living in a “police state” when normal people roll their eyes upon hearing about the National Socialist sympathies of Cinderella. Our society thus has a never-ending supply of “educated” minorities fresh out of Affirmative Action Studies at Taxpayer Funded University ready to make a living complaining about how Pocahontas is the reason why no one on the reservation can get a job.

    This inevitably trickles down into popular culture, as it is understood that any portrayal of wholesome or “innocent” entertainment contains anti-Semitism. Hence, the staggeringly vulgar Drawn Together portrayed the “Disney Princess [33]” character Clara [34], as racist, classist, and fanatically anti-Semitic. While Drawn Together also took shots at “Jew producers” (allowed because it was produced by, well, Jews) and nonexistent black fathers [35], it shows how deeply it is understood that traditional children’s stories represent the trifecta of racism, anti-Semitism, and “antiquated” gender roles. And of course, we also have Family Guy‘s portrayal of the Disney Universe —

    http://youtu.be/a-snfaG2JH8 [36]

    As always, our cultural watchmen are more paranoid and hysterical than even the most alarmist Fox News contributor. The same Huffington Post contributors chortling at the idea of “Communist Muppets” will dutifully troop off to their media studies class to learn about how Snow White actually paved the way for Auschwitz.

    Of course, these tenured neurotics do have a point, albeit not in the way they think. The kind of traditional world generally presented in Disney movies and fairy tales that rewards (and reinforces) nobility, feminine virtue, and courage, is a product of the white West. Although there have been attempts at pushing a kind of “alternative” children’s literature where the highest values are tolerance and non-discrimination, children and even otherwise goodthinking [37] politically correct adults still respond to the simple stories and values of the European past.

    The problem is that just as the contemporary American government does all it can to destroy the vital source of the real America, the contemporary Disney Corporation is similarly cannibalizing itself. At best, Disney today stands for a spiritually empty consumerism. At worst, it is something truly sinister, deliberately poisoning young people for profit. Nonetheless, in the end, the castle at the Magic Kingdom still stirs a child’s heart, just as it gives anti-racists deep misgivings for reasons they know but will not articulate (namely that they are not anti-racist, but merely anti-white–and anti everything that connotes whiteness).

    It may seem absurd to worry about Kermit the Frog as a closet Marxist, but it is far more ludicrous that we live in a society that pays people vast sums to write about The Little Mermaid as a fascist. Unfortunately, there is always some truth to such charges. The personal is political, and culture is always a battlefield. Disney profits by giving Americans a dull echo of values and archetypes deep within the Western soul. Academics and subsidized activists derive a comfortable living deconstructing this appeal and telling whites they should feel guilty about it.

    It remains to contemporary Radical Traditionalists to re-articulate these truths in new forms that can speak to our people, both freeing them from their guilt and giving our children new stories, legends, and heroes that can’t be repackaged and consumed for the well-being of Michael Eisner. Characters are products, but the stories and themes are inseparable from our life as a people. It’s time we reclaim them.

     

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  • Mad Max: Fury Road
    (”Happy Feet” is briefly mentioned in this.)

    1,360 words

    [1]Mad Max: Fury Road is the fourth — and the best — Mad Max movie directed by George Miller. Miller was born George Miliotis — the son of Greek refugees from Turkish ethnic cleansing in Anatolia — and is also the creator of two other, and very different, film franchises, the Babe the talking pig movies and the Happy Feet animated penguin movies.

    In Fury Road, the title character, which heretofore has been played by Mel Gibson, is played by Tom Hardy (Bane — with another grill thing on his face, no less). Charlize Theron is the female lead as Imperator Furiosa, who has a prosthetic Terminator arm attached to an amputated stump.

    Theron’s character is the focus of a media kerfuffle about her allegedly “badass” superfeminist character, but it is entirely baseless and manufactured to sell tickets.

    James Bond movies have a formula, and so does their advertising. Every few Bond films, we are told that this time Bond will be paired up with a “strong woman” — presumably unlike all the other Bond women. Bond aficionados laugh because of course few Bond women ever match Ursula Andress’ formidable heroine in the very first Bond movie, Dr. No. 

    Of course Bond movies appeal overwhelmingly to men, so the publicity people probably concoct the “strong woman” pitch to persuade potential female ticket buyers that it will not be too much of a sausage fest. And they figure that a strong woman won’t deter male viewers, as long as she is hot. Of course, this is a risky proposition, because there is a well-documented tendency for men to abandon social spaces and activities once they have become too feminized.

    I think that pretty much the same reasoning was behind promoting Theron as the strong woman in Fury Road — unlike the shrinking violet Tina Turner in Beyond Thunderdome, I suppose. But these are the days of Peak Feminism, and this time, there has been a backlash, with many young men swearing off Fury Road in disgust.

    They’ll come round, though, because the feminist elements of this movie, such as they are, would only offend Oriental advocates of purdah and footbinding. Indeed, the society they rebel against is profoundly un-white and un-Western, despite the fact that it is ruled by and predominantly populated by whites.

    The Citadel — a set of towering rock formations — is the headquarters of cult leader Immortan Joe. Joe, like the despots of neighboring Gas Town and Bullet Farm, is hideously malformed and debauched. His government is a form of oriental hydraulic despotism [2] — literally, for he hoards water and food and releases them in dribs and drabs to the starving wretches below.

    Joe also uses brute force to maintain power, filling the citadel with War Boys, who look like skinheads on chemo. To control the war boys and motivate them to sacrifice themselves, Joe has manufactured a religion which promises Valhalla to the War Boys and some sort of redemption to the rest of his people.

    Aside from Joe, everyone is basically a slave. Huge fat women are milked like cows, and the milk seems to be consumed as food and even exported. When Max is captured, he is turned into a “blood bag” to offer transfusions to a sickly War Boy, Nux. (Radiation has made many people sickly. Their abbreviated existence is ironically called a Half Life.)

    Another oriental trait of the Citadel is Joe’s harem. Healthy and fertile young women are in short supply, so naturally Joe monopolizes them.

    The Citadel’s combination of polygamy, slavery, militarism, religion, and rule by a prophet/priest/despot actually brings to mind one of history’s greatest practitioners of the gangsta/pimp lifestyle, namely the Prophet of Islam.

    At this point, I will “spoil” the story by giving away a few plot elements. Furiosa is a trusted driver of one of Joe’s armored War Rigs, a tanker that appears to be loaded with water and mother’s milk, which Furiosa will drive to Gas Town to barter for gasoline.

    At a certain point, however, she turns off road into the desert. Furiosa, it seems, is defecting. Joe discovers that his harem has disappeared. They want something better than being the brood slaves of a bloated tyrant, so Furiosa has promised to deliver them to the Green Place, where she was born and from which she had been kidnapped 20 years before by Joe’s people.

    Joe sends his army to recover them, and Max is brought along as a blood bag. Max escapes, teams up with Furiosa, and they battle their way across the desert, to discover that all that remains of her people are a few old crones wandering the desert, one of whom carries a treasure: seeds. If only she can find water and soil for them.

    The crones team up with Furiosa, Max, and Nux, who has changed sides. Their mission is to preserve life. To find a suitable home for the fertile young women, so the race can live on, and to find fertile ground for the seeds. It is a mission important enough to kill and die for, and they do. But life triumphs in the end.

    Feminism has created a false consciousness in women. They imagine that women never exercised agency, never protected themselves against abusers, and never exercised political power until feminism came along and started white, Western women bitching as if they were in purdah. Of course if they really had been in purdah, all the complaining in the world would not have made any difference.

    It does not take feminism or Marxism to make white people rebel against the oriental despotism of the Citadel. Such government has never sat well with us. It is not in our nature.

    Real feminism is neurotic man-hatred, anti-life nihilism, and sexual separatism. Real feminism is ball-busting posturing and pointless oneupmanship. None are present in Fury Road. After overcoming mutual distrust (which is reasonable in the circumstances), Max and Nux team up well with Furiosa, the brides, and the crones because that is the natural way.

    There is no sense that the crones in the desert are a viable society, only the remnants of one, and the crones are willing to sacrifice their lives to find safety for the brides and fertile ground for the seeds. As the crones charge into battle, one says to another, “One man, one bullet,” but this does not apply to all men, of course, and it delightfully tweaks “One man, one vote.”

    The primary role of women in this movie is nurturers, and it is only because the world has been turned upside down that women are forced to kill to further life. In the end though, they could not have done it without Max and Nux. But the women also provided them something real to fight for.

    When our race awakens and begins to fight for its survival, it is not pre-Raphaelite damsels and oriental lotus foots who will be our helpmeets, but women like Furiosa.

    I found the opening few minutes of Fury Road distasteful, and I almost walked out. I am glad I stayed, though, because it is an excellent movie. Yes, there are lots of chases and fights — thrilling and spectacular ones — but Miller understands pacing, so there are meditative and poetic moments as well, and a number of deeply touching ones.

    The world Miller creates is a remarkable work of the imagination, with a stunning steampunk/biker mag aesthetic, and scenes of desolation and horror worthy of Bruegel, Bosch, and Dalí. (I made the mistake of seeing the movie in 3-D, but after a few minutes I went next door to a conventional screening, and I am glad I did. One simply sees more detail.) Thank God there was no symbolism.

    The performances of Hardy and Theron are excellent. They have real chemistry. You can feel that they complete one another: she has found a protector, and he has found a purpose. But for me, Miller’s artistry was best displayed when I realized that plot and character, tension and respite, words and silences, had been orchestrated into a deeply moving climax, created with the simplest of means. Hardy simply says, “Max, my name is Max.”

    I loved this movie.

     

    ...
    (Review Source)

Kyle Smith2
National Review



(Reviewers' Site/Bio)

  • Delightful animated musical ‘Sing’ hits all the right notes
    (”Happy Feet” is briefly mentioned in this.)
    If (like me) you have a parental obsession with brainwashing your children to adore everything from Sinatra to “Shake It Off,” “Sing” may be your most effective weapon since “Happy Feet.” This animated feature carries a thin story that can’t touch the one in “Happy Feet,” though: A koala who is also a theater impresario (Matthew...
    ...
    (Review Source)
  • "Golden Compass" Heading Flop-by-Flopwest
    (”Happy Feet” is briefly mentioned in this.)
    Allow me to be the first to call the Nicole Kidman/Daniel Craig fantasy mess “The Golden Compass” a flop. It opened with $8.8 million last night, less than “Beowulf” managed its first day–and “Beowulf” is also a flop. The latter cost $150 million and will earn less than $100 mil at the domestic box office. “The Golden Compass” cost $180 millon and will be lucky if it hits $80 million domestic. Next week it’s up against “I Am Legend,” which is going to beat it into the ground as “Compass” faces the prospect of extremely poor word of mouth. Question: how long before they stop making Nicole Kidman movies? Look at her art-house film, “Margot at the Wedding,” which, okay, is a niche entry, but even so could wind up grossing less than $2 million. Can anyone be called a star if they can’t even sell $2 million worth of tickets? She’s riding an incredible 11-movie disaster streak (you can’t count the animated “Happy Feet”) and even her “hits”–like “The Hours” and “The Others”–were only mildly successful. Picture a slugger who strikes out 200 times a year and never hits anything longer than a single. How long would such a player get to stay in the league? She has never been the lead in a single movie–not one–that has sold enough tickets to justify the $15 million she reportedly got for “The Invasion,” a movie that grossed only $15 million. The only one of her pictures to top $100 million is “Batman Forever,” in which she got fourth billing, below the title.]]>
    ...
    (Review Source)

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